GAINSBOROUGH 

1  PART  23* 

—-—VOLUME  2 

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MASTERS  I  N  ART 

A  SERIES  OF  ILLUSTRATED 
MONOGRAPHS:    ISSUED  MONTHLY 


PART  23 


NOVEMBER,  1901 


VOLUME  2 


CONTENTS 


Plate  I.  Mrs.  Robinson  ('Perdita') 

Plate  II.  Orpin,  the  Parish  Clerk 

Plate  III.  Mrs.  Siddons 

Plate  IV.  The  Morning  Walk 

Plate  V.  Jonathan  Buttall  (*The  Blue  Boy 

Plate  VI.  Mrs.  Jordan 

Plate  VII.  The  Watering-place 

Plate  VIII.  The  Honorable  Mrs.  Graham 

Plate  IX.  Queen  Charlotte 

Plate  X.  Eliza  Linley  and  her  Brother 


Wallace  Collection:  London 
National  Gallery:  London 
National  Gallery:  London 
Lord  Rothschild's  Collection:  Tring  Park 
)  Duke  of  Westminster'sCollection:London 
Earl  of  Northbrook's  Collection:  London 
National  Gallery:  London 
National  Gallery  of  Scotland:  Edinburgh 
South  Kensington  Museum:  London 
Lord  Sackville's  Collection  :Knole 


Portrait  of  Gainsborough  by  Himself    Royal  Academy:  London 
The  Life  of  Gainsborough 

London  Society,  Volume  47  (1885) 

The  Art  of  Gainsborough 

Criticisms  by  Armstrong,  Wedmore,  J.  E.  Hodgson  and  F.  A.  Eaton,  Van  Dyke 

The  Works  of  Gainsborough:  Descriptions  of  Plates  and  List  of  Paintings 

Gainsborough  Bibliography 


Page  20 
Page  21 

Page  25 

Page  34 
Page  40 


Photo-  Engravings  by  Folsom  and  Sunergren:  Boston.     Press-work  by  the  Everett  Pr 


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A  SUPERB  ART-WORK 


THE  LIFE  OF  J.  M.  W.  TURNER,  R.  A. 

By  SIR  WALTER  ARMSTRONG,  Director  of  the  National  Gallery,  Ireland,  and  author  of  Gains- 
borough and  His  Place  in  English  Art,"  "  Sir  Joshua  Reynolds,"  etc. 

THIS  work  on  the  "  Life  and  Art  of  Turner"  will  be  the  most  important  art  publication  of  the  season  of  iQoi-02.  The  previous 
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The  volume,  which  is  about  15x11  inches  in  size,  contains  ninety  reproductions  of  Turner's  finest  pictures,  consisting  of 
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pervision of  the  author  and  of  Mr.  Crual  Thompson. 

The  work  is  imperial  quarto,  and  of  about  200  pages,  with  the  engraved  surface  of  the  large  plates  about  9x6  inches. 
This  book  appears  in  two  editions,  both  strictly  limited,  of  which  the  publishers  have  been  able  to  get  a  small  number  for  the 
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***iVo  other  edition  ivill  ever  be  issued. 


SIR  JOSHUA  REYNOLDS,  P.  R.  A. 

By  SIR  WALTER  ARMSTRONG,  Director  of  the  National  Gallery,  Ireland.    With  70  photogravures  and 
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LEONARDO  DA  VINCI 

ARTIST,  THINKER,  AND  MAN  OF  SCIENCE.    Translated  from  the  French  of  Eugene  Mijntz.    With  20 
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PETER  PAUL  RUBENS 

HIS  LIFE,  HIS  WORK,  AND  HIS  TIME.    Translated  from  the  French  of  Emile  Michel,  by  Elizabeth  Lee. 

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REMBRANDT  VAN  RYN 

HIS  LIFE,  HIS  WORK,  AND  HIS  TIME.     With  76  full-page  plates  and  250  text-illustrations.      From  the 
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in  Rembrandt's  paintings. 

ANTONIO  ALLEGRI  DA  CORREGGIO 

HIS  LIFE,  HIS  FRIENDS,  AND  HIS  TIME.     Translated  from  the  Italian  of  Corrado  Ricci,  by  Florence 

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GREAT  PICTURES  DESCRIBED  BY  GREAT  WRITERS. 

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painters,  a  description  of  the  several  pictures  from  the  masters  of  literature.  For  example  :  Raphael's  Sistine  Madonna  is 
described  by  Hans  Andersen  5  Botticelli's  Birth  of  Venus  by  Walter  Pater  5  Guido's  Portrait  of  Beatrice  Cenci  by  Shel- 
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''American  Gardens' 


In  no  department  of  the  Fine  Arts  has  the  recent  rapid  advancement  of  Amer- 
ica been  so  exemplified  as  in  the  newly  awakened  interest  in  gardens.  It  is  not  an 
over-statement  to  say  that  ten  years  ago  there  were  not  more  than  twenty  private 
gardens  worthy  of  the  name  in  this  country^  and  these  (most  of  them  survivals  from 
the  Colonial  period)  were  yearly  diminishing  in  number.  To-day  there  are  at  least 
one  hundred  American  gardens  worthy  of  comparison  with  those  of  Italy  and  Eng- 
land in  spite  of  the  differences  in  age. 

English  and  Italian  gardens  have  been  well  illustrated  in  numerous  publica- 
tions^ but  American  architects  and  garden-owners  have  found  with  disappointment 
that  the  suggestions  these  foreign  examples  offered  for  garden  design  in  this  country 
were  limited;  that  many  of  their  greatest  beauties  were  dependent  upon  the  use  of 
alien  plants  and  trees.,  and  of  surroundings  which  could  not  be  here  reproduced.  It 
became  evident  that  the  American  garden  must  be  an  indigenous  product;  and  to  the 
solution  of  the  problem  such  architects  as  the  Olmsted  Brothers.,  Mr.  Charles  A. 
Platt.^  Messrs.  Carrere  and  Hastings.,  Mr.  Wilson  Eyre.,  fr.^  Messrs.  Keen  & 
Mead.,  Messrs.  Parsons  dif  Pentecost.,  Mr.  Daniel  W .  Langton.,  Miss  Beatrix 
Jones.,  Mr.  A.  J.  Manning.,  Messrs.  Little  iff  Brown,  Messrs.  McKim.,  Mead  & 
White f  Mr.  Nathan  Barrett,  and  many  others,  as  well  as  scores  of  non-professional 
garden-owners,  have  set  themselves,  with  results  that  will  be  a  delightful  astonish- 
ment to  those  who  do  not  know  what  has  been  accomplished.  Best  of  all,  these  gar- 
dens show  what  can  be  achieved  in  this  country,  and  how  existing  conditions  have 
been  met  and  utili'z.ed,  and  will,  therefore,  become  sources  of  inspiration. 

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The  portrait  here  reproduced  was  in  Gainsborough's  studio  at  the  time  of  his  death, 
and  was  presented  by  his  daughter  to  the  Royal  Academy.  "In  person,"  writes 
Fulcher,  who  drew  his  description  from  those  who  had  known  the  painter  person- 
ally, "he  was  handsome,  fair,  tall,  and  well  proportioned.  His  forehead,  though 
not  high,  was  broad  and  strongly  marked;  his  mouth  and  eye  denoted  humor  and 
refinement.  The  general  expression  of  his  face  was  thoughtful,  yet  not  altogether 
pleasant.  The  most  casual  observer  would  have  seen  that  much  lay  there;  one 
gifted  with  greater  insight  would  also  have  said  that  something  was  wanting  there; 
few  could  have  affirmed  what." 


MASTERS    IN  ART 


BORN  1  72  7:    DIED  1788 
ENGLISH  SCHOOL 

LONDON   SOCIETY  VOLUME   47  [1885] 

THOMAS,  third  son  of  John  Gainsborough,  a  respectable  trader,  was 
born,  some  time  in  17  27,  in  the  town  of  Sudbury,  in  Suffolk,  amidst 
some  of  the  loveliest  rural  scenery  of  England.  The  exact  date  of  his  birth 
is  not  known,  but  he  was  baptized  in  the  Independent  Meeting-house  early 
in  May.  The  father,  a  shroud-maker,  seems  to  have  been  fairly  prosperous, 
for  though  he  had  a  large  family,  nine  in  all,  he  was  able  to  give  them  good 
educations.  He  appears  to  have  been  a  fine,  generous-hearted,  clear-headed 
man.  Respected  by  his  fellow  townsmen,  his  good  repute  does  not  seem  to 
have  suffered  in  those  days  by  the  fact  that  he  was  wont  to  carry  on  a  con- 
traband trade  with  Holland,  and  the  circumstance  would  scarcely  be  worth 
naming  but  for  the  conjecture  that  through  the  father's  visits  to  the  Nether- 
lands the  son  may  have  learned  something  of  the  principles  of  Dutch  art. 
Certainly  his  earlier  work  betrays  evidences  of  some  acquaintance  with  the 
Dutch  masters.  .  .  . 

The  artist's  mother,  like  the  mother  of  so  many  great  men,  was  evidently 
a  woman  of  altogether  superior  qualities.  She  was,  among  other  things,  an 
accomplished  painter  of  flowers,  and  from  the  first  encouraged  her  little  boy 
in  his  attempts  at  drawing.  Thomas,  like  many  another  great  painter,  early 
showed  signs  of  his  special  gift.  At  ten  years  old,  we  are  told,  he  had  made 
progress  in  sketching,  and  at  twelve  was  a  confirmed  painter.  He  himself 
tells  us  that  there  was  not  a  picturesque  clump  of  trees,  nor  even  a  single  tree 
of  any  beauty,  nor  hedgerow,  stem  or  post  for  miles  around,  that  he  had  not 
noted  as  a  lad. 

At  ten  years  of  age  Thomas  was  sent  to  the  grammar  school,  of  which 
his  uncle  was  head  master.  Tom  seems  to  have  struck  a  sort  of  bargain 
with  his  school-fellows  by  which  they  undertook  to  do  his  lessons  while  he 
amused  them  with  his  sketches.  But  the  boy's  chief  delight  was  to  get  a 
holiday  and  ramble  about  with  his  sketch-book.  It  is  recorded  that  having 
applied  to  his  father  for  such  a  holiday,  and  having  been  refused.  Master 
Tom,  nothing  daunted,  wrote  on  a  slip  of  paper  the  usual  formula,  "Give 
Tom  a  hoKiay,"  so  cleverly  imitating  his  father's  handwriting  that  the  much- 


22  0ia$^ttt^  in  art 

desired  holiday  was  granted.  He  set  out,  and  returned  with  a  book  full  of 
sketches.  Meantime,  however,  the  fraud  had  been  discovered,  and  his  father, 
on  seeing  the  clever  forgery,  exclaimed,  "Tom  will  be  hung!"  But  when 
the  boy  showed  his  book  and  told  how  he  had  spent  his  day,  the  old  man 
said,  "Tom  will  be  a  genius!" 

At  the  back  of  the  house  in  which  the  artist  was  born  there  was  a  spacious 
orchard.  It  was  separated  only  by  a  fence  from  the  road,  and  the  ripe  fruit 
had  for  some  time  been  mysteriously  disappearing.  One  morning  Gains- 
borough, having  risen  early  to  sketch  in  the  inclosure,  noted  a  man's  face 
peeping  over  the  fence  and  gazing  wistfully  at  the  ripe  pears.  Immediately 
the  young  portrait-painter  made  a  sketch  of  these  features.  Then,  before  the 
marauder  could  gather  his  prey,  the  boy  revealed  himself  and  put  him  to  flight. 
At  breakfast  Tom  told  the  story  and  showed  his  sketch,  from  which  the  man 
was  immediately  recognized.  He  was  sent  for  and  taxed  with  felonious  in- 
tent, which  he  stoutly  denied,  till  the  boy  confronted  him  with  the  portrait. 
This  juvenile  effort  was  preserved  in  the  family,  and  Gainsborough  ulti- 
mately made  a  finished  painting  of  the  scene  under  the  title  of  "Tom  Pear- 
tree's  Portrait."  No  wonder  his  friends  thought  that  something  might  be 
made  of  a  lad  possessing  so  true  an  eye  and  ready  a  hand.  A  family  con- 
sultation was  held,  at  which  it  was  decided  to  send  Tom  to  London  to  study 
painting;  and  thus  he  went  thither  at  the  early  age  of  fifteen. 

In  London  Gainsborough  lived  first  with  a  silversmith  who  gave  him  great 
assistance  and  introduced  him  to  the  engraver  Gravelot,  one  of  the  best  of 
his  time,  with  whom  he  learned  the  art  which  he  occasionally  practised  in 
after-life.  Gravelot  also  got  the  boy  admission  to  the  old  academy  in  St.  Mar- 
tin's Lane.  This  academy  Gainsborough  left  for  the  studio  of  Hayman,  who, 
if  he  enjoyed  some  reputation  as  an  historical  painter,  was  far  more  notorious 
for  his  convivial  habits.  Whether  his  master's  paintings  or  his  convivial  habits 
proved  too  much  for  the  young  student  we  know  not,  but  certain  it  is  that 
the  latter  soon  set  up  a  studio  for  himself  at  Hatton  Garden.  This  was  a 
period  in  English  art  which  one  critic  calls  "disgraceful,"  another  "con- 
temp'-ible,"  and  a  third  "degraded."  Small  wonder  that  Gainsborough  pre- 
ferrea  working  alone  to  working  with  any  of  the  masters  of  the  time !  But 
ere  long  he  returned  to  the  old  Suffolk  lanes  and  woods. 

The  legend  has  it  that  while  engaged  on  one  of  his  first  landscapes  a 
young  woman  entered  unexpectedly  on  the  scene,  and  that  Gainsborough 
not  only  transferred  her  to  his  canvas,  but  enshrined  her  in  his  heart.  The 
young  woman,  whose  remarkable  beauty  has  been  acknowledged  by  all  who 
knew  her,  was  Margaret  Burr,  whose  brother  was  a  commercial  traveler 
for  old  John  Gainsborough.  The  painting  of  her  picture  seems  to  have 
taken  some  time;  long  enough,  at  all  events,  for  the  young  couple  to  fall  in 
love.  A  few  months  later  they  were  married  —  he  aged  nineteen,  she  a  year 
younger. 

About  six  months  after  their  union  the  boy-husband  and  girl-wife  went 
to  live  at  Ipswich,  renting  a  cottage  for  the  modest  sum  of  six  pounds  a 
year.  In  those  days  the  Ipswichians  were  an  essentially  practical  people  who 


23 


knew  nothing  and  cared  less  for  art,  and  from  them  Gainsborough  received 
no  patronage;  but  probably  this  want  of  success  was  in  fact  an  advantage 
to  the  artist,  for  the  young  man  could  give  his  whole  time  to  that  minute 
and  loving  study  of  nature  that  was  to  stand  him  in  such  good  stead.  The 
fact  that  two  of  the  water-color  sketches  of  this  period  are  merely  studies  of 
sunbeams  piercing  through  clouds  shows  how  patient  and  earnest  was  his  work. 

In  17  54  Gainsborough  met  Philip  Thicknesse,  a  rich,  pompous,  tedious, 
conceited  fellow  of  the  Dogberry  type,  who  at  once  took  Gainsborough  in 
hand  and  proved  a  useful  patron,  though  he  must  ever  have  been  an  intoler- 
able bore.  He  was  really  useful  in  getting  the  young  painter  commissions, 
and  it  was  at  his  suggestion  that,  after  fifteen  years  of  pure  happiness  and 
quiet  content  at  Ipswich,  Gainsborough  moved  to  the  then  fashionable  city 
of  Bath.  Here  he  had  to  take  a  more  expensive  house,  much  to  the  alarm 
of  his  prudent  wife,  who  asked  him  if  he  were  going  to  throw  himself  into 
jail.  She  need  not  have  been  alarmed.  From  the  first  orders  came  in  so 
fast  that  Gainsborough  was  obliged  to  raise  his  charges  from  five  to  eight 
guineas  a  head  in  order  to  keep  his  patrons  within  manageable  numbers; 
and  finally  he  raised  them  to  forty  pounds  for  a  "kit-cat,"  and  one  hundred 
pounds  for  a  full-length.  Indeed,  he  so  prospered  that,  punning  upon  his 
name,  his  house  was  called  "Gain's  Borough."  At  Bath  Gainsborough  of 
course  became  acquainted  with  all  the  brightest  spirits  of  the  time,  the  bucks 
and  fashionable  beauties  of  the  period,  and  their  lineaments  gaze  down  upon 
us  from  his  canvases.  .  .  . 

While  he  was  prospering  at  Bath,  public  interest  in  matters  artistic  showed 
signs  of  awakening  in  London.  The  Royal  Academy  of  Arts  had  been 
founded,  and  Gainsborough  had  at  once  been  elected  an  original  member; 
but  he  was  never  active  as  an  associate,  often  quarreled  with  that  body,  and 
finally  withdrew  from  exhibitions  because  his  celebrated  picture  of  'The 
Princesses'  was  not  hung  on  the  line. 

A  quarrel  with  Thicknesse  led  Gainsborough  to  leave  Bath  for  London 
in  1774,  where  he  set  up  for  a  second  time  —  now  no  longer  as  a  young 
fellow  waiting  in  vain  for  work,  but  as  one  of  the  most  successful  painters 
of  his  day.  On  hearing  of  his  advent,  George  III.  summoned  him  to  the 
palace,  and  gave  him  orders.  As  soon  as  this  became  known  all  the  court 
and  all  the  fashionable  world  rushed  to  follow  the  royal  example.  Commis- 
sions for  portraits  flowed  in  so  fast  that,  with  all  his  rapidity  of  execution  and 
industry,  Gainsborough  was  unable  to  satisfy  the  impatience  of  his  sitters. 
He  was  now  at  the  zenith  of  his  fame. 

Yet,  while  Gainsborough  continued  to  be  known  solely  as  a  portrait- 
painter,  he  did  not  neglect  his  paintings  of  nature,  though  not  a  dozen  of 
his  landscapes  were  exhibited  at  the  Academy,  and  we  learn  from  a  contem- 
porary that  these  pictures  stood  ranged  in  long  lines  from  his  hall  to  his 
painting-room.  Yet  those  who  came  to  Schomberg  House  to  sit  for  their 
portraits  rarely  deigned  even  to  honor  them  with  a  look  as  they  passed  by. 
It  was  impossible  for  the  artist  not  to  feel  a  little  aggrieved  on  the  subject — 
especially  as  he  was  convinced  that  his  strength  and  power  lay  in  his  landscapes. 


24 


lEa^fter^f  in  art 


Next  to  his  love  of  nature,  Gainsborough's  greatest  passion  was  for  music, 
a  devotion  concerning  which  many  quaint  stories  are  extant,  for  he  was  beset 
by  the  childish  illusion  that  if  he  could  only  possess  himself  of  the  actual  instru- 
ment on  which  a  certain  performer  played  he  would  be  able  to  execute  in 
the  same  manner.  It  is  remarkable  in  his  pictures  that,  while  as  a  rule  not 
addicted  to  microscopic  fidelity,  he  painted  musical  instruments  with  special 
care,  so  that  of  his  portrait  of  the  musician  Fischer  a  critic  remarked,  "The 
violin  is  so  well  painted  that  a  connoisseur  in  the  instrument  could  at  once 
name  the  builder." 

Early  in  the  year  1787  Gainsborough  began  to  show  signs  of  failing 
health.  One  day  when  dining  with  Sir  George  Beaumont  and  Sheridan  his 
friends  noticed  that  he  who  was  generally  so  merry  sat  silent,  and  before  din- 
ner was  half  over  he  left  the  table,  beckoning  Sheridan  to  follow  him.  "I  shall 
die  soon,"  he  said  to  the  dramatist  when  they  were  outside  the  room;  "I  know 
it,  I  feel  it.  I  have  less  time  to  live  than  my  looks  infer,  but  for  this  I  care 
not.  What  oppresses  my  mind  is  this,  —  I  have  many  acquaintances,  but  few 
friends,  and  as  I  wish  to  have  one  worthy  man  accompany  me  to  the  grave, 
I  am  desirous  of  bespeaking  you.  Will  you  come?  Yes,  or  no?"  Sheridan 
gave  him  the  desired  promise,  and  they  both  returned  to  the  dinner-table, 
Gainsborough  apparently  in  his  usual  spirits.  His  gloomy  presentiment 
proved,  however,  not  ill-founded. 

The  following  year,  like  all  the  world,  he  joined  the  huge  crowd  that 
flocked  to  the  trial  of  Warren  Hastings.  There,  sitting  with  his  back  to  an 
open  window,  he  suddenly  felt  an  icy-cold  touch  on  the  back  of  his  neck. 
On  his  return  he  complained  of  the  pain,  and  his  wife  looked  at  the  place 
and  saw  a  small  white  mark.  This  soon  grew  worse,  and  was  declared  to  be  a 
cancer.  "If  this  be  a  cancer  I  am  a  dead  man,"  said  Gainsborough  calmly, 
and  set  about  arranging  his  affairs.  He  rapidly  grew  worse.  Shortly  before 
the  end  he  remembered  Sir  Joshua  Reynolds,  his  rival  painter,  to  whom 
his  feelings  had  not  always  been  of  the  friendliest.  He  therefore  wrote  to 
Sir  Joshua,  desiring  to  see  him  once  more  before  he  died.  "  If  any  little 
jealousies  had  subsisted  between  us,"  writes  Reynolds,  "they  were  forgotten 
in  those  moments  of  sincerity."  Very  solemn  was  the  death-bed  scene,  in 
which  the  two  great  painters  buried  their  petty,  worldly  rivalries.  Gains- 
borough could  speak  but  little,  and  what  he  said  was  understood  with  diffi- 
culty by  Reynolds,  the  deaf.  The  dying  man  said  that  he  feared  not  death, 
but  his  regret  at  losing  life  was  principally  his  regret  at  leaving  his  art,  more 
especially  as  he  now  began  to  see  where  his  deficiencies  lay.  Delirium  set 
in  and  clouded  his  understanding.  His  last  coherent  words  are  memorably 
pathetic,  as  well  as  especially  characteristic,  for  they  point  to  the  ideal  the 
English  painter  had  set  for  himself:  "We  are  all  going  to  Heaven,  and  Van 
Dyck  is  of  the  party." 

.Two  days  after  the  interview  with  Reynolds  he  was  dead.  By  his  own 
wish  he  was  privately  buried  in  the  Kew  churchyard,  and  Sir  Joshua  was 
among  the  pall-bearers. 


25 


C|)e  ^rt  of  (Jlamsiiorousl) 

WALTER   ARMSTRONG  'GAINSBOROUGH   AND    HIS   PLACE   IN   ENGLISH  ART'l 

GAINSBOROUGH  was  the  artistic  temperament  made  visible  and 
stripped  of  irrelevance.  It  would  not  be  rash  to  call  him  the  first  and 
the  best  of  the  impressionists.  In  every  task  he  set  himself,  or  at  least  in 
every  task  he  carried  through,  his  aim  was  entirely  pictorial.  He  felt  no 
temptation  to  be  literary,  to  be  anecdotic,  to  be  didactic,  to  be  anything  but 
artistic  within  the  limits  of  his  own  emotions  and  the  materials  he  was  using. 
His  pictures  are  examples  of  pure  reaction  between  subject  and  object.  He 
was  the  first  of  the  impressionists;  but  between  his  impressionism  and  that 
of  the  last  forty  years  there  is  one  remarkable  difference.  The  modern  im- 
pressionist professes  to  be  true  to  his  impressions;  his  declared  idea  is  to 
reproduce  the  broad  effect  of  any  scene  upon  his  senses;  but,  nevertheless, 
his  observation  is  supplemented  by  analysis,  and  his  pictures  are  the  result 
of  a  long  process  of  justification,  as  it  were,  applied  to  the  image  first  re- 
ceived. Such  a  proceeding  was  quite  foreign  to  the  genius  of  Gainsborough. 
With  him  the  impression  was  everything.  Once  received,  it  had  to  be  justi- 
fied, not  by  the  truth  which  underlay  it,  but  by  the  splendor  to  which  it  led. 

Gainsborough's  finest  things  are  all  impromptus.  We  might  almost  say 
that  when  he  deliberated  he  was  lost.  A  sympathetic  personality  had  the 
power  to  set  his  brain  burning  with  creation  at  a  touch.  In  the  'Mrs.  Sid- 
dons,'  the  'Mrs.  Graham,'  'The  Morning  Walk,'  we  cannot  discover  the 
faintest  sign  of  that  mental  preparation  which  is  so  evident  in  Sir  Joshua. 
The  pictures,  as  we  see  them,  record  the  images  which  sprang  into  the 
painter's  brain  as  his  sitters  approached.  Beauty  and  aesthetic  unity  grew 
under  his  hand  with  an  unequalled  rapidity.  The  idea  of  conscious  and 
deliberate  control  never  obtrudes  itself.  His  art  is  to  that  of  other  painters 
what  conversation  is  to  literature.  It  is  vital,  spontaneous,  and,  within  the 
pattern,  unexpected.  He  paints  as  a  first-rate  talker  talks.  His  head  is  full 
of  his  conception,  and  his  fingers  do  the  rest.  His  brush-strokes  are  scarcely 
due  to  separate  acts  of  volition.  The  happy  color,  never  muddy  or  fatigued, 
trips  from  his  brush;  one  felicitous  line  succeeds  another;  delicious  textures 
weave  themselves  into  the  inevitable  pattern,  and  the  picture  emerges  with 
delight  from  the  matrix  of  his  exulting  brain. 

All  this,  however,  is  true  only  when  the  problem  to  be  solved  is  simple. 
In  such  complex  matter  as  groups  of  many  figures  Gainsborough  was  never 
successful  in  hitting  upon  a  quite  satisfactory  conception.  The  'Baillie 
Family'  in  the  National  Gallery  is  a  collection  of  beautiful  passages;  it  is 
not  a  picture.  In  a  less  degree  we  may  say  the  same  of  such  a  comparatively 
simple  thing  as  the  'Eliza  and  Tom  Linley.'  In  these  separate  ideas  were 
suggested  by  the  different  figures,  and  the  painter  was  deficient  in  the  faculty 

1  In  the  following  criticism  a  few  paragraphs  have  been  interpolated  from  the  same  author's  article  on 
Gainsborough  in  <The  Portfolio,'  1894. 


26 


j^a^fter^  in  ^rt 


required  for  seducing  them  into  a  real  intimacy.  Before  Eliza  Linley  he 
could  only  paint  what  her  personality  inspired,  and  so  when  it  became 
Tom's  turn  to  sit  he  had  to  smuggle  him  into  the  composition  as  best  he 
could.  The  only  striking  exceptions  to  this  are  afforded  by  those  few  cases 
in  which  his  portraits  become  so  far  subject-pictures  as  to  suggest  an  inde- 
pendent title,  Hke  'The  Morning  Walk.'  Here,  for  once  in  a  way,  a  de- 
tached idea  embracing  two  persons  slipped  in  before  the  simpler  concep- 
tion and  got  itself  expressed.  It  was  not  often,  however,  that  Gainsborough 
composed  a  group  as  happily  as  this.  .  .  . 

In  more  than  one  of  his  letters  he  alludes  to  his  own  incapacity  to  think 
out  things  or  to  reason  in  any  consecutive  fashion.  Familiarity  with  his 
work  convinces  us  that  if  he  had  been  compelled,  by  some  external  force,  to 
think  steadily  for  half  an  hour  he  would  have  found  it  a  physical  torture. 
When  the  right  stimulus  was  offered,  in  the  shape  of  a  beautiful  woman  or 
a  lovely  scene  in  nature,  a  consummate  piece  of  art  was  the  certain  reac- 
tion ;  but  I  doubt  whether,  in  the  whole  course  of  his  life,  he  ever  built  up 
excellence  on  a  germ,  or  felt  the  slightest  temptation  to  realize  on  canvas 
any  scene  he  had  read  of  in  a  book.  His  greatness  depends  on  the  quick- 
ness with  which  he  perceives  beauty  and  answers  to  its  summons,  and  on 
that  faculty  for  artistic  synthesis  which  enables,  or  rather  compels,  him  to 
see  and  select  only  those  notes  which  make  a  pictorial  chord. 

Beauty  was  the  foundation  of  Gainsborough's  art  in  that  it  was  his  sole 
and  only  stimulus;  but  the  merit  of  his  pictures  as  we  see  them  does  not  lie 
in  the  beauty  they  reproduce,  but  in  the  beauty  they  create,  in  the  extraor- 
dinary felicity  of  his  means  and  in  the  remarkable  aesthetic  unity  of  his 
results.  Technically,  Gainsborough  was  one  of  the  greatest,  if  not  the  very 
greatest,  of  painters.  He  was  not  a  good  draughtsman.  Indeed,  when  we 
consider  how  carefully  he  worked  in  his  youth  and  how  thoroughly  he  then 
drew,  he  must  have  had  a  special  inaptitude  for  seeing  and  remembering  the 
linear  proportions  of  things  to  be  able  to  draw  as  badly  as  he  often  did  in  his 
maturity.  As  a  painter,  as  a  transmuter  of  a  paletteful  of  colored  earths  into 
light  and  air,  into  glowing  human  flesh  and  waving  trees,  he  has  no  superior, 
and  perhaps  no  equal.  Such  fault-finding  as  we  have  for  him  is  always  for 
his  intentions,  never  for  his  realization.  When  he  failed  it  was  not  because 
the  material  had  for  once  beaten  him,  but  because  his  ambition  slumbered 
in  the  absence  of  its  favorite  stimulant. 

It  may  seem  audacious  to  put  the  technique  of  Gainsborough,  as  a  painter, 
above  that  of  any  one  else  when  we  remember  that  Rubens,  Frans  Hals, 
and  Velasquez  are  in  the  field;  but,  as  a  literal  matter  of  fact,  Gainsborough 
did  what  not  one  of  those  three  ever  succeeded  in  doing — because,  you  may 
say,  they  did  not  try — Gainsborough  could  take  an  eight-foot  canvas,  and, 
with  a  thousand  unerring  strokes  of  his  brush,  could  build  up  a  mosaic  of 
brilliant,  pellucid  notes  of  gemlike  color,  each  one  as  clear  as  an  amethyst 
and  as  light  as  a  snowflake,  and  yet  the  result  would  be  as  solid,  rich,  and 
profound  as  any  Velasquez.  In  his  finest  things  it  is  impossible  to  point  to 
a  faltering  passage.   From  top  to  bottom,  from  right  to  left,  the  canvas  glows 


27 


with  internal  light.  The  opacity  which  betrays,  I  do  not  say  the  fumbler, 
but  the  man  whose  mastery  falters  now  and  then,  never  chills  us  for  an 
instant.  Everything  is  cool,  clear,  and  transparent,  like  the  air  of  a  hilltop  in 
June.  Velasquez  rendered,  Gainsborough  expressed.  In  this  comparison  I 
do  not  mean  to  suggest  that  one  was  right  and  the  other  wrong,  but  merely 
that  they  had  different  aims,  and  that,  as  Gainsborough's  solicitude  was  above 
all  for  his  paint  and  the  feelings  it  was  capable  of  suggesting  and  satisfying, 
he  shows,  as  a  painter,  qualities  we  do  not  find  so  fully  developed  in  any 
one  else. 

Gainsborough's  conceptions  are  so  essentially  simple  that  attempts  at  any 
detailed  analysis  seem  out  of  place.  He  saw  beauty  in  external  nature,  and 
combined  it  with  the  beauty  latent  in  paint.  In  doing  so  he  followed  a  few 
obvious  principles,  of  which  he  may  or  may  not  have  been  conscious.  His 
men  and  women  are  always  so  posed  as  to  bring  out  the  easy  flexibility  of 
the  human  figure.  His  heads  are  set  at  gentle  angles  to  the  vertical  axis  of 
the  body,  his  limbs  are  at  easy  rest  or  in  quiet  movement,  his  hands  and  arms  are 
well  placed  and  eloquent  in  gesture,  while  the  draperies  which  float  about 
them  suggest  the  last  movement  they  have  made.  Before  a  sitter  who  excites 
his  interest  Gainsborough's  imagination  never  flags.  Nothing  is  perfunctory, 
although  much  may  be  slight.  There  is  always,  for  instance,  a  subtle  har- 
mony between  the  pattern  made  by  his  figures  and  that  of  those  landscape 
backgrounds  against  which  nearly  all  his  finest  portraits  are  set.  The  heavy 
leafage,  without  contour  and  with  only  a  questionable  transparency,  which 
occurs  in  so  many  portraits  by  Romney  and  Hoppner,  and  in  not  a  few  by 
Sir  Joshua,  never  confines  one's  fancy  in  a  Gainsborough.  With  him  the 
luminous  air  plays  round  the  figure  and  among  the  trees,  and  we  feel  that 
the  fair  Mrs.  Robinson  could  rise  and  walk  away  into  the  woods,  unembar- 
rassed by  any  fear  of  walking  through  the  canvas. 

Gainsborough's  embrace  was  large.  He  did  not  forget  one  part  of  his  task 
for  another.  He  carried  on  all  the  elements  of  his  conception  side  by  side. 
He  did  not  see  in  color,  like  Reynolds,  or  in  light  and  shade,  like  Rem- 
brandt, or  in  line,  like  Ingres;  he  saw  in  a  combination  of  the  three,  and 
as  he  drove  them  like  a  skilful  teamster  he  kept  his  eye  on  beauty  as  the 
goal.  You  cannot  divide  a  Gainsborough  into  its  component  elements,  as 
you  can  the  works  of  most  other  great  painters.  It  is  easy  to  think  of  a 
Rembrandt  as  a  creation  in  chiaroscuro,  of  an  Ingres  as  a  pattern  in  line,  of 
a  Sir  Joshua  as  a  symphony  in  color,  of  a  Hals  as  a  feat  in  brushing;  but 
in  a  Gainsborough  all  these  elements  are  so  intimately  blended,  they  were  so 
closely  interwoven  in  his  mind  as  he  rapidly  gave  substance  to  his  concep- 
tion, that  one  cannot  be  dissected  from  the  other.  We  have  to  accept  them 
as  a  whole,  and  to  admit  that  in  his  ability  to  fuse  the  three  elements  of  pic- 
torial art  into  unity,  or,  rather,  in  his  gift  for  seeing  them  as  one,  he  has  had 
few  equals  and  no  superior. 

In  wanting  like  this,  however,  I  must  guard  myself  against  misconception. 
I  do  not  wish  the  reader  to  suppose  that  I  aim  at  setting  our  English  master 
on  a  pedestal  higher  than  others.   My  comparisons  have  been  strictly  limited. 


28 


0la$ttt$  in  a^tt 


Putting  it  as  shortly  as  I  can,  Rembrandt  conceived  on  a  higher  plane  than 
Gainsborough,  Velasquez  painted  objects  better  than  Gainsborough,  but 
Gainsborough  painted  in  the  abstract  better  than  either.  That  sounds  like 
nonsense,  but  I  think  it  is  sound  sense.  Paint  can  be  used  in  many  ways. 
It  can  be  used  to  express  ideas — Rembrandt's  way;  it  can  be  used  to  render 
objects — the  way  of  Velasquez;  it  can  be  used  to  delight  us  with  its  own 
constitution  and  to  play  upon  our  emotions  like  the  notes  of  a  violin — that 
was  the  way  of  Gainsborough.  .  .  . 

In  all  I  have  said  I  have  made  no  distinction  between  Gainsborough's  por- 
traits and  his  landscapes.  It  seems  to  me  that  no  real  distinction  can  be  made. 
Many  writers  and  not  a  few  painters  have  contrasted  the  two  branches  of 
his  art  as  if  they  issued  from  two  different  men.  The  finest  of  Gainsborough's 
portraits  are  finer  than  the  finest  of  his  landscapes  for  exactly  the  same  reason 
that  a  park  with  a  beautiful  woman  in  it  is  more  desirable  than  the  same  park 
with  nothing  in  it  at  all.  A  picture  like  'The  Morning  Walk'  is  a  fine  land- 
scape, plus  some  delightful  figures.  Some  artists  who  have  painted  both 
landscapes  and  moving  tales  have  followed  principles  in  the  one  case  which 
they  have  neglected  in  the  other.  Gainsborough  did  nothing  of  the  kind.  His 
art  was  a  simple  and  sensuous  thing,  and  whether  he  painted  a  portrait,  or  a 
scene  from  nature,  or  a  combination  of  both,  he  depended  for  his  effects  on 
the  same  way  of  seeing  and  the  same  way  of  reproducing  what  he  saw.  .  .  . 

I  feel  impelled  to  sketch  the  development  of  Gainsborough  here,  as 
lightly  as  I  can,  in  order  to  bring  out  the  pattern  it  made  on  the  art  of  the 
eighteenth  century.  Gainsborough  began  young,  and  in  his  youth  he  de- 
voted all  his  energies  to  that  exploratory  art  which  is  the  only  sure  road  to 
success.  In  all  probability  he  saw  few  pictures  except  those  of  his  own  im- 
mediate companions.  His  art  at  this  time  was  all  experimental.  It  changed 
from  day  to  day,  and  it  was  not  until  he  had  been  at  work  for  some  ten 
years  that  he  finally  settled  down  to  a  method  of  his  own  and  to  single- 
minded  work  from  nature.  By  the  time  he  was  thirty  all  this  toil  had  made 
him  master  of  his  tools,  and  had  left  him  waiting  only  for  a  lead.  The  move 
to  Bath  took  place;  the  art  of  Van  Dyck,  and  as  I  believe,  of  Rubens, 
opened  his  eyes  to  what  paint  could  do,  and  he  blossomed  at  once.  His 
conceptions  grew  bolder,  his  hand  freer,  his  color  more  luminous  and  in- 
finitely richer.  ... 

Gainsborough,  too,  seems  to  have  been  awakened  at  Bath  by  Van  Dyck 
to  fresh  possibilities  in  the  art  he  practised.  Sincerity  had  been  his  govern- 
ing virtue  in  Suffolk.  The  people  he  had  painted  there  were  homely,  healthy, 
bucolic,  and  so  he  had  shown  them.  But  when,  after  ten  years  of  happy 
drudgery,  he  moved  away  to  new  scenes,  and  there  fell  into  the  society 
of  the  ladies  and  cavaliers  of  Van  Dyck,  new  horizons  opened  before  him. 
He  now  perceived,  for  the  first  time,  what  selection  could  do,  and  how  a 
greater  race  of  men  and  women  than  he  had  dreamed  of  lay  among  the  tints 
on  his  palette.  And  as  Gainsborough  was  a  rarer  genius  than  Van  Dyck, 
as  his  art  was  more  personal,  more  exquisite,  more  alive  with  temperament 
than  the  Fleming's,  so,  although  in  one  or  two  of  Van  Dyck's  Genoese  pic- 


29 


tures  the  dignity  given  by  birth  and  habits  of  command  is  suggested  more 
surely  perhaps  than  by  any  other  painter,  neither  Van  Dyck  nor  any  one 
else  has  equalled  Gainsborough  in  the  lightness  and  apparent  rapidity  with 
which  his  hand  settles  exactly  on  those  things  which  make  up  the  indescrib- 
able quality  we  call  distinction.  The  grace  of  his  women  seems  a  part  of 
themselves;  even  when  the  fashion  of  their  dress  is  extravagant,  it  is 
brought,  by  a  mysterious  insight  of  the  artist's,  within  their  own  personal- 
ities. .  .  . 

The  change  in  Gainsborough  was  so  rapid  that,  in  settling  the  chronology 
of  his  works,  it  is  difficult  to  believe  that  so  short  an  interval  elapsed  between 
the  comparatively  stiff  and  cold  half-lengths  of  his  Ipswich  time  and,  for  in- 
stance, the  'General  Honywood'  of  1764.  After  that  his  strides  were  longer 
than  ever.  In  1768  he  painted  the  Linley  group,  and  in  177  0  'The  Blue 
Boy,'  and  then,  according  to  my  chronology,  most  of  the  fat,  low-toned  land- 
scapes, which  have  usually  been  assigned  to  the  latest  period  of  all.  A  typical 
example  of  this  time  is  the  'Watering-place'  of  the  National  Gallery. 

Last  of  all,  Gainsborough,  like  every  other  magician  of  the  brush,  arrived 
at  the  time  when  painting  seemed  to  be  done  with  his  will  rather  than  with 
his  hand.  His  canvases  are  all  light,  and  air,  and  limpid  color.  Heaviness 
disappears,  and  there  is  not  a  square  inch  which  does  not  glow  like  a  sapphire 
and  warm  us  like  the  sun  at  noon.  To  this  period  belong  all  his  very  great- 
est achievements.  The  'Eliza  Linley  and  her  Brother,'  'The  Blue  Boy,'  the 
'Mrs.  Graham,'  superb  as  they  are,  cannot  boast  the  unity,  the  absolute  real- 
ization of  an  aesthetic  thought,  which  we  see  in  'The  Morning  Walk.'  .  .  . 

As  for  Gainsborough's  place  in  the  general  hierarchy  of  art,  it  depends 
entirely  on  his  positive  qualities.  It  is  easy  to  see  his  defects.  It  is  easy  to 
point  out  that  his  ambition  was  narrow,  that  his  culture  was  small,  that  his 
faculty  for  taking  thought  was  a  negative  quantity,  and  that  in  certain  mat- 
ters of  equipment  he  has  been  surpassed  by  many  unimportant  people.  But 
his  art  was  all  art.  It  was  the  pure,  spontaneous  expression  of  a  personality 
into  which  no  anti-artistic  leaven  had  been  mixed.  .  .  .  His  finest  things 
embody  an  exquisite  thought  with  a  perfection  denied  to  Reynolds,  denied  to 
Romney,  denied  even  to  those  great  men  of  the  seventeenth  century  with 
whom  he  may  be  most  fitly  measured.  His  glory  lies  between  himself  and 
his  country.  His  inspiration  came  from  the  beauty  by  which  he  was  sur- 
rounded, and  his  success  from  an  artistic  gift  of  remarkable  vigor  and  of  a 
purity  which  has  been  seldom  equalled  and  never  surpassed. 

FREDERICK   WEDMORE  ^STUDIES   IN   ENGLISH  ART' 

IN  portraits,  as  in  landscapes,  Gainsborough's  power  is  best  shown  in  sub- 
jects in  themselves  picturesque  and  attractive.  To  make  of  an  entrancing 
loveliness  or  of  a  noble  pathos  that  which  is  lovely  or  pathetic  to  begin 
with — that  is  Gainsborough's  strength.  He  is  not — like  the  greatest  of  his 
brethren,  Rembrandt  and  Velasquez — the  uncompromising  painter  of  the 
terrible  reality;  and  when  the  French  call  him,  with  their  mild  praise,  ''un 


30 


jma^^t  er^  in  ^rt 


peintre  aimable^  un  peintre  agr'eahle,^^  that  is  what  they  mean.  He  was  born 
to  paint  men  and  women  of  a  noble  presence,  but  living  for  the  most  part 
in  the  undisturbed  ease  of  a  somnolent  time.  At  the  keener  court  of  Henry 
Vni.,  or  in  the  palace  of  Lorenzo  de'  Medici,  or  where  Velasquez  painted 
the  saddened  dwarf  and  the  boy  king,  each  in  his  strange  dignity,  or  where 
Rembrandt  traced  the  lines  of  thought  and  care  on  the  brows  of  the  burghers 
of  Amsterdam,  Gainsborough  would  have  been  less  great.  But  he  came  at 
the  right  moment,  and  painted  George,  Prince  of  Wales,  fat  and  comely,  and 
glorious  in  decorated  coat  manfully  padded;  and  the  Duchess  of  Cumberland, 
magnificent  in  attitude  of  stately  abandonment;  and  the  Queen,  of  affability 
greater  than  history  has  recorded;  and  the  three  Princesses,  fresh  and  flower- 
like; and  Signora  Baccelli,  the  dancer,  with  her  wan,  thin  face  and  wreathed 
smile  and  waving  draperies;  and  Mrs.  Siddons,  radiant;  and  Lady  Spencer, 
gracefully  grave,  with  broad  touches  of  a  solemn  woodland  landscape  at  her 
back;  and  the  benignant  Orpin,  the  old  clerk,  with  his  homely  sweetness. 
Such  is  his  compass;  such,  within  hmit,  his  variety. 

Nor  as  a  landscapist  is  he  more  easily  exhaustible.  It  is  a  pastoral  poet's  land- 
scape, with  ever  new  combinations  of  sturdy  tree-trunk  and  waving  bough 
and  rising  field-land — landscape  never  reaching  to  terrible  energy ;  avoiding 
passion,  and  not  failing  in  it.  The  Classicists  of  his  own  time,  and  earlier, 
had  composed  an  artificial  nature;  had  gone  abroad,  to  give  us  classical  Italy 
or  Italianized  England.  The  first  English  landscapists  had  been  masters  of 
topography;  had  laboriously  traced — and  without  emotion — the  colder  as- 
pects of  London  and  the  country.  But  Gainsborough  gave  us  first  the  selected 
moment  and  selected  place  of  beauty  and  charm  of  English  life  and  landscape. 
He  idealized  a  little,  but  it  was  a  mild  idealizing.  He  put  before  us  Nature, 
not  in  her  first  aspect;  yet  his  work  has  no  sense  of  forcing.  He  gently 
persuaded  her,  till  she  came  his  way. 

J.    E.    HODGSON   AND   F.    A.    EATON  ART  JOURNAL:  1889 

THERE  could  have  been  but  little  real  sympathy  between  Reynolds 
and  Gainsborough.  To  Reynolds,  Gainsborough  must  have  appeared 
a  somewhat  questionable  and  enigmatical  person — not  a  little  contemptible, 
even.  Reynolds's  own  life  had  been  regulated  on  incontrovertible  princi- 
ples; he  had  walked  circumspectly,  guided  by  prudence  and  sagacity;  dili- 
gence, economy,  punctuality,  order,  method,  and  duty  were  his  watchwords. 
Though  too  busy  a  man  for  much  reading,  he  loved  knowledge  and  lost  no 
opportunity  of  acquiring  it;  he  chose  the  best  and  wisest  men  as  his  friends 
and  associates;  he  never  began  anything  without  reflection,  and  what  he 
began  he  carried  out;  and  finally,  with  each  succeeding  year,  his  contact 
with  the  great  world  added  polish  to  his  manners  and  his  mind.  It  must 
have  been  difficult  for  him  to  even  understand  such  a  character  as  that 
of  Gainsborough,  who  did  not  walk  circumspectly;  with  whom,  as  far  as 
we  may  judge  by  the  evidence  before  us,  prudence,  sagacity  as  applied  to 
worldly  matters,  economy,  punctuahty,  order,  and  method  were  not;  who 


31 


had  no  sense  of  duty;  who  never  once  attended  a  meeting  of  the  Royal 
Academy,  though  frequently  elected  into  the  council;  who  did  not  care  for 
any  knowledge  except  that  which  appertained  to  his  art;  who  chose  for 
friends  and  associates  only  those  who  amused  him;  who  constantly  began 
pictures  and  never  finished  them;  who  was  guided  by  impulse  and  not  re- 
flection; who  was  highly  incautious,  blurted  out  the  most  unpalatable  things 
in  conversation  and  writing;  made  the  most  absurd  bargains,  and  offered  im- 
possible sums  when  the  whim  was  on  him.  His  was  not  a  serious  character; 
he  was  a  bright,  amiable,  whimsical,  and  lovable  man,  who  revelled  in  the 
joys  of  genius,  of  exquisite  sensibilities  and  exuberant  spirits — the  grass- 
hopper of  the  fable.  He  worked  hard  but  not  laboriously;  what  he  did  he 
did  without  effort,  in  a  fit  of  enthusiasm;  his  art  was  music  to  him;  it  de- 
lighted his  senses  and  his  imagination,  and  he  stopped  short  when  it  became 
toilsome.  The  German  epithet  genialisch'^  exactly  applies  to  everything 
he  said  and  did,  and  would  be  quite  misapplied  to  the  acts  and  sayings  of 
Reynolds.  We  may  plausibly  surmise  that  no  permanent  friendship  was 
possible  between  them,  that  they  irritated  each  other,  and  that  neither  could 
do  the  other  full  justice.  .  .  . 

To  define  the  difference  between  them  is  by  no  means  easy.  Art  is 
subtle;  its  distinctions  often  baffle  the  coarse  materialism  of  words  and 
phrases.  To  describe  their  separate  methods  of  working  appears  the  most 
convenient  way.  Let  us  imagine  Reynolds  to  have  made  an  appointment 
with  a  sitter,  a  young  lady  of  a  classic  cast  of  countenance,  and  to  have 
made  due  note  of  the  date  and  the  hour  in  one  of  those  shabby  little  note- 
books which  are  preserved  in  the  library  of  the  Royal  Academy.  In  the  in- 
terim he  carefully  cogitates  his  picture.  He  has  long  wished  to  paint  a 
portrait  with  a  mass  of  amber  color  as  his  principal  light,  opposed  to  red  in 
shadow,  with  a  green-blue  as  a  foil.  The  amber  dress  and  the  flesh  shall 
make  the  principal  light;  two  other  minor  lights  must  be  introduced;  the 
dark  hair  will  serve  for  the  extreme  point  of  shade.  Those  two  minor  lights 
must  be  seen  to.  If  nothing  strikes  him  he  turns  over  a  portfolio  of  engrav- 
ings, and  finally  gets  an  idea.  When  the  appointed  hour  arrives,  and  with 
it  the  sitter,  he  is  ready;  his  picture  is  schemed  out;  it  exists  in  his  head, 
and  he  begins  with  certainty  and  fearlessness. 

Gainsborough,  on  the  other  hand,  makes  an  appointment  of  which  he 
thinks  no  more,  trusting  to  be  duly  reminded  of  it  by  his  faithful  Margaret; 
he  plays  on  the  fiddle  with  Abel  or  listens  to  his  son-in-law  Fischer's  hautboy, 
and  when  the  hour  arrives  he  sits  down  before  his  easel  with  a  mind  as  blank 
as  the  canvas  before  him.  His  sitter  is  a  young  lady;  he  eyes  her  intently, 
he  chats  with  her,  he  draws  her  out,  he  gets  excited,  strange  flashes  of  droll- 
ery and  absurdity  escape  him;  she  turns  in  her  chair,  her  face  lights  up, 
and  inspiration  comes  to  him.  "Stay  as  you  are!"  he  exclaims.  He  sees  a 
picture;  he  seizes  his  palette  and  begins.  He  painted  what  he  could  dis- 
cover in  nature;  Reynolds  used  nature  to  help  him  to  paint  what  he  had 
already  discovered;  his  work  presents  what  the  French  have  called  ^Uevoulu''; 
that  of  the  other,  ^U'imprevu."  .  .  . 


32 


^a^ttt^  in  art 


It  is  related  that  on  one  occasion  after  a  dinner  Reynolds  rose  and  pro- 
posed the  health  of  "Mr.  Gainsborough,  the  greatest  living  landscape- 
painter."  It  happened,  if  it  ever  did  happen,  in  the  days  before  Turner; 
we  can  now  no  longer  think  of  Gainsborough  as  the  greatest  of  landscape- 
painters;  we  are  compelled  to  pull  down  his  claims  out  of  the  superlative 
into  the  comparative  degree,  and  must  make  allowance  for  the  fact  that 
since  his  day  landscape-painting  has  taken  an  entirely  new  departure.  The 
landscape-painter  of  the  present  day,  the  camper-out  in  the  fields,  the  ear- 
nest follower  of  nature,  would  be  inclined  to  describe  the  landscapes  of 
the  last  century  as  representing  an  impossible  universe,  where  the  sky  was 
not  the  vast  laboratory  in  which  were  distilled  the  dews  and  vapors  which 
hourly  fertilize  the  earth,  but  a  field  of  meaningless  blue  in  which  were  sus- 
pended what  look  more  like  feather-beds  than  any  known  form  of  water; 
where  the  earth  was  without  stratification  or  intelligible  structure,  and  com- 
posed entirely  of  baked  clay  and  putty;  where  the  trees  had  gutta-percha 
stems,  with  no  past  history  discernible  in  their  forms,  no  joy  or  vigor  in  their 
growth;  where  the  grass  was  a  meaningless  wash  of  translucent  green  which 
appeared  to  afford  subsistence  to  bituminous  cows  and  an  insecure  resting- 
place  to  questionable  milkmaids.  The  universe  as  depicted  by  Gainsborough 
is  open  to  satirical  criticism  of  that  kind;  nothing  is  seriously  or  carefully 
studied,  but,  as  in  his  figure-pictures,  he  goes  to  the  heart  of  the  matter,  the 
soul  which  underlies  the  outward  features,  and  represents  that. 

JOHN    C.    VAN   DYKE  CENTURY   MAGAZINE:  1897 

GAINSBOROUGH'S  pictures  make  up  practically  his  only  autobiog- 
raphy, and  all  of  them  are  temperamental  rather  than  philosophical; 
reflective  of  moods  or  states  of  feeling  rather  than  intellectual  expositions  of 
abstract  fact.  An  individuality  full  of  delicate  feeling,  sensitive  to  things 
graceful  and  charming,  and  tinged  by  a  strain  of  romantic  melancholy  shows 
in  the  majority  of  his  canvases.  On  the  surface  his  art  is  frequently  vivacious, 
sprightly,  dashing;  but  underneath  flows  almost  always  a  current  of  sadness 
inherent  in  the  man.  How  many  handsome  women  he  painted,  with  heads 
tossed  coquettishly  on  one  side,  with  lively  pose  of  figure,  and  soubrette  turn 
of  hand  and  foot!  They  all  smile,  but  there  is  something  behind  the  smile 
that  seems  to  mock  at  gaiety.  As  might  be  surmised  from  this  disposition, 
Gainsborough  worked  better  with  women  and  children  for  sitters  than  with 
men.  Some  trace  of  effeminacy  lingers  in  almost  all  of  his  men,  and  one 
wonders  if  he  ever  painted  a  man's  portrait  that  possessed  the  force  of 
Reynolds's  *Lord  Heathfield.'  After  all,  Sir  Joshua  had  an  intellectual  stam- 
ina which  he  instilled  into  his  characters,  whereas  Gainsborough  had  merely 
a  winning  personality.  But  this  very  shortcoming  in  his  men's  portraits 
proved  an  excellence  in  his  portraits  of  women.  The  *Mrs.  Siddons'  is  very 
like  *The  Parish  Clerk'  in  conception  and  treatment;  but  in  the  *Mrs.  Sid- 
dons' the  delicacy  and  softness  are  the  very  essence  of  the  tragic  queen  when 
off  the  stage  and  once  more  a  woman.  .  .  . 


oBain^fiorougf) 


33 


Possessed  as  Gainsborough  was  of  the  true  artistic  temperament,  he  was 
not  a  thoroughly  trained  craftsman  any  more  than  his  contemporaries.  It  is 
often  apparent  that  he  did  not  know  how  an  object  should  be  presented  by 
line,  and  that  he  sought,  by  diverting  the  attention  to  color  and  texture,  to 
give  the  appearance  of  reality  in  another  way.  He  did  this  effectively,  for 
he  was  more  of  a  painter  than  a  draughtsman,  and  if  he  did  not  paint  in 
patches,  like  Manet,  he  at  least  tried  to  reproduce  the  exact  values  of  the 
tones.  The  tone  as  a  substitute  for  Hne  was  a  makeshift,  but  it  had  its  ad- 
vantages, not  unforeseen  by  the  painter,  of  giving  elasticity  and  mobility  to 
the  figure;  and  it  is  not  a  matter  of  regret  that  he  failed  to  inclose  his  figures 
in  a  rim  or  an  outline. 

His  handling  is  one  of  his  oddities,  and  is  certainly  original  enough,  since 
no  other  master  ever  handled  in  just  the  same  way.  Rubens  wrote  with  the 
brush  as  easily  and  as  smoothly  as  a  writing-master  with  the  pen ;  Rembrandt 
modeled  in  paint,  oftentimes  producing  surfaces  in  relief;  Reynolds  kneaded 
and  thumbed;  but  Gainsborough  streaked,  scratched,  and  rubbed,  working 
with  a  long-handled  brush,  and  striving  to  gain  an  under-surface  effect.  Close 
to  view,  such  scratching  and  hatching  as  one  sees  in  the  hair  of  the  *Mrs. 
Siddons'  seems  quite  unnecessary;  but  at  the  proper  distance  this  work  reveals 
the  lightness  and  fluffiness  of  the  hair  most  strikingly.  A  similar  eftect  was 
frequently  sought  for  in  his  flesh-tones.  He  did  not  like  the  hard,  shining 
surface,  though  he  sometimes  painted  it;  and  in  his  faces  he  was  usually  striv- 
ing for  the  depth  and  transparent  quality  of  the  flesh  rather  than  for  its  external 
appearance.  His  touch  was  usually  smooth  and  swift  enough,  but  thin,  and 
not  always  certain.  Where  Reynolds  hesitated  Gainsborough  was  perhaps 
too  hasty,  painting  with  more  decision  than  precision;  all  of  which  would 
tell  us,  even  if  we  did  not  know  it  from  contemporary  testimony,  that  he 
was  an  impatient,  impulsive  man,  working  by  fits  and  starts  with  much  en- 
ergy, and  putting  more  of  the  artist's  mood  into  his  work  than  the  brushman's 
skill. 

Perhaps  Gainsborough's  greatest  charm  as  a  painter  was  his  color,  and 
here  he  followed  no  master  but  himself.  In  fact,  so  independent  was  he  that 
he  was  disposed  to  place  himself  in  opposition  to  Reynolds  in  the  matter  of 
pleasing  color  arrangements;  and  instead  of  using  the  warm  academic  hues 
he  preferred  the  cool  tints, — blues,  cream-whites,  dull  reds,  and  pinks,  saf- 
fron-yellows, and  silver-grays.  Pale,  cool  notes  he  could  arrange  in  most  charm- 
ing combinations.  Here  he  relied  almost  entirely  upon  his  sensitive  eye,  and 
the  result  was  a  harmony  quite  his  own.  Van  Dyck  and  Reynolds  may  have 
taught  him  something  about  aristocracy  of  pose  and  bearing,  but  they  taught 
him  nothing  about  color.  It  was  Gainsborough's  most  original  quality,  and 
was  most  appropriate,  in  fact  quite  complementary,  to  that  shade  of  melan- 
choly which  dominated  his  finest  work.  His  soft  tones  seem  to  harmonize 
with  the  pathos  of  sad  faces,  where  lively  or  severe  coloring  would  have 
been  out  of  place  and  disturbing. 

Again  we  come  back  to  a  primary  statement  that  Gainsborough  was  a 
temperament  instead  of  a  rule,  a  person  of  feeling  rather  than  an  erudite 


34 


Pia^ttt^  in  atrt 


craftsman.  In  art,  temperament  is  perhaps  above  character,  as  more  spon- 
taneous; but  temperament  in  the  ascendency  usually  means  limitation,  and 
Gainsborough  was  not  a  versatile  man.  True,  he  did  many  subjects — and 
so  did  Corot,  the  Frenchman ;  but  the  peculiar  sentiment  of  the  painter  is 
apparent  in  almost  every  one  of  them.  Reynolds,  who  was  somewhat  differ- 
ent from  Gainsborough  in  this  respect,  seemed  to  appreciate  in  his  contem- 
porary what  he  himself  could  lay  less  claim  to;  and  it  was  perhaps  not  pres- 
idential condescension  or  funereal  eulogy  that  led  him  to  say  of  the  dead 
painter:  "If  ever  this  nation  should  produce  genius  sufficient  to  acquire  to 
us  the  honorable  distinction  of  an  English  school,  the  name  of  Gainsborough 
will  be  transmitted  to  posterity,  in  the  history  of  the  art,  among  the  very 
first  of  that  rising  name." 


C|)e  Works  of  #amst)orousl). 

DESCRIPTIONS    OF    THE  PLATES 
MRS.    ROBINSON    ('PERDITA')  WALLACE   COLLECTION:  LONDON 

GAINSBOROUGH'S  picture  in  the  Wallace  Collection  of  the  famous 
actress  Mrs.  Robinson,  whose  beauty  charmed  the  heart  of  the  Prince 
of  Wales,  afterwards  George  IV.,  was  painted  in  the  year  1782.  There  are, 
in  the  same  collection,  two  other  portraits  of  this  lady,  —  known  to  all  the 
world  as  'Perdita,' — one  by  Sir  Joshua  Reynolds,  the  other  by  Romney. 

"The  Gainsborough,  with  its  beautiful  feathery  touch  and  harmony  of 
effect,  is  more  fascinating  than  either  of  the  others,"  writes  Spielmann,  "yet 
they,  more  closely  agreeing  in  respect  of  feature,  were  doubtless  the  better 
likenesses.  But  though  you  may  forget  the  others,  you  can  never  lose  the 
memory  of  the  haunting,  thoughtful  face  that  appears  on  Gainsborough's 
canvas.  The  refinement  of  this  accomplished,  unstable  lady  is  brilliantly 
suggested  in  a  picture  which  must  be  reckoned  among  Gainsborough's 
masterpieces." 

ORPIN,    THE   PARISH   CLERK  NATIONAL   GALLERY:  LONDON 

IN  17  72  Gainsborough  wrote  from  Bath  to  his  friend  Garrick,  the  actor: 
"I  have  been  several  days  rubbing  in  and  rubbing  out  my  design  of 
'Shakespeare' ;  and  hang  me  if  I  think  I  shall  let  it  go,  or  let  you  see  it  at 
last.  I  was  willing,  like  an  ass  as  I  am,  to  expose  myself  a  little  out  of  the 
simple  portrait  way,  and  had  an  idea  of  showing  where  that  inimitable  poet 
had  his  ideas  from  by  an  immediate  ray  darting  down  upon  his  eye  turned 
up  for  that  purpose;  but  confound  it,  I  can  make  nothing  of  my  ideas!" 

The  Shakespeare  portrait  never  came  to  anything;  but  it  seems  probable 
that  in  the  likeness  of  Edward  Orpin,  the  parish  clerk  of  Bradford-on-Avon, 
Gainsborough  utilized  the  conception  he  had  been  unable  to  carry  out  with- 


35 


out  the  help  of  a  sitter.  The  picture  is  one  of  his  most  careful  works, — a 
Httle  overcareful,  perhaps, — but  he  seems  not  to  have  set  an  especial  value 
upon  it,  for  it  was  probably  one  of  those  which  he  gave  to  John  Wiltshire, 
the  public  carrier  whom  he  employed  to  convey  pictures  between  Bath  and 
London.  Wiltshire  had  refused  to  accept  payment  for  his  services.  "No, 
no,"  he  said,  "I  love  art  too  much.  When  you  think  I  have  carried  the 
value  of  a  little  painting,  I  beg  you  will  let  me  have  one,  sir,  and  I  shall  be 
more  than  paid;"  and  Gainsborough  gave  him  several. 

MRS.    SIDDONS  NATIONAL   GALLERY:  LONDON 

IN  1 784,  the  same  year  that  she  posed  for  Reynolds  as  *The  Tragic  Muse,' 
and  when,  at  twenty-nine,  she  was  in  the  prime  of  her  beauty  as  a  woman 
and  at  the  zenith  of  her  fame  as  an  actress,  Mrs.  Siddons  sat  to  Gainsborough 
for  this  portrait.  As  a  record  of  beauty  and  as  a  work  of  art  the  picture  is 
ranked  by  many  critics  as  Gainsborough's  masterpiece,  so  distinguished  is 
its  design,  so  firm  the  drawing,  and  so  exquisite  the  color,  despite  the  fact 
that  the  red  curtain  in  the  background  is  not  absolutely  in  tune  with  the 
blues  and  buffs  of  the  costume. 

The  actress  wears  a  black  hat  with  feathers,  and  a  striped  dress,  which, 
when  the  folds  throw  the  rich  blue  and  buff  silk  into  a  mass,  shows  like  sea- 
water  in  the  sun;  and  Armstrong  considers  that  the  'Mrs.  Siddons,'  in  which 
every  law  laid  down  by  Reynolds  is  carefully  broken,  rather  than  'The  Blue 
Boy,'  was  Gainsborough's  authentic  repartee  to  Sir  Joshua's  celebrated  dic- 
tum respecting  the  use  of  blue. 

THE    MORNING   WALK  LORD    ROTHSCHILd's   COLLECTION:   TRING  PARK 

"OTANDING  opposite  this  portrait  of  Squire  Hallett  and  his  wife,"  writes 
O  Theophile  Gautier,  "we  have  a  strange  retrospective  sensation,  so  in- 
tense is  the  illusion  it  produces  of  the  spirit  of  a  bygone  century.  We  really 
fancy  that  we  can  see  the  young  couple  walking  arm-in-arm  along  a  garden 
avenue."  The  romantically  lovely  lady  is  attired  in  a  gray  muslin  dress  with 
greenish-yellow  ribbons.  A  'Pamela'  hat  rests  on  her  splendid  auburn  hair, 
which,  after  the  fashion  of  the  day,  is  swelled  into  an  enormous  chignon. 
Her  husband  wears  a  dark  coat  of  French  cut,  knee-breeches,  and  white 
stockings.  A  white  Pomeranian  dog,  tired  of  their  tete-a-tete,  trots  beside 
the  couple  as  if  to  beg  his  usual  share  of  caresses. 

Sir  Walter  Armstrong,  the  most  authoritative  of  recent  writers  on  Gains- 
borough, pronounces  this  portrait  to  be  the  finest  picture  "for  pure  artistry" 
painted  in  the  eighteenth  century,  adding:  "If  I  followed  my  own  conviction 
I  should  say  since  the  death  of  Rubens  and  Velasquez."  After  pointing  out 
that  in  conception  the  picture  was  evidently  an  echo  of  Rubens's  celebrated 
group-picture  of  himself,  his  wife,  and  their  child  (now  in  Baron  Alphonse 
de  Rothschild's  collection,  Paris),  he  goes  on  to  note  the  surpassing  excel- 
lence of  its  background,  the  freedom  and  sweep  of  its  execution,  and,  finally, 
that  the  conception  is  of  unusual  unity  for  Gainsborough.   "The  tradition 


36 


j^a^ter^  in  airt 


is,"  he  writes,  "that  Mr.  and  Mrs.  Hallett  sat  to  the  painter  immediately 
after  their  marriage,  and  that  his  intention  was  to  suggest  their  first  prom- 
enade as  husband  and  wife.  He  succeeded  admirably.  Their  aspect  toward 
each  other  and  the  aspect  of  the  dog  toward  both  are  eloquent  of  novel 
relations."  * 

THE   BLUE   BOY  DUKE   OF   WESTMINSTER'S   COLLECTION:  LONDON 

JONATHAN  BUTTALL,  the  original  of  the  celebrated  *Blue  Boy,'  was 
the  son  of  a  wealthy  ironmonger  of  London.  In  Gainsborough's  picture 
the  boy  is  represented  clad  in  a  blue  satin  coat  and  knee-breeches  and 
standing  bare-headed  in  the  open  air.  His  plumed  beaver  hat  is  held  in  his 
right  hand,  and  behind  him  is  a  richly  colored  background  of  dark  landscape 
and  stormy  sky. 

It  has  been  said  that  this  picture  was  painted  in  refutation  of  Sir  Joshua 
Reynolds's  statement,  made  in  his  eighth  Discourse,  that  "the  masses  of  light 
in  a  picture  ought  to  be  always  of  a  warm,  mellow  color,  yellow,  red,  or  a 
yellowish-white;  and  the  blue,  the  gray  or  the  green  colors  should  be  kept 
almost  entirely  out  of  these  masses,  and  be  used  only  to  support  and  set  off 
these  warm  colors;  and  for  this  purpose,  a  small  proportion  of  cold  colors 
will  be  sufficient.  Let  this  conduct  be  reversed,  let  the  Hght  be  cold,  and 
the  surrounding  colors  warm,  and  it  will  be  out  of  the  power  of  art,  even  in 
the  hands  of  Rubens  or  Titian,  to  make  a  picture  splendid  and  harmonious." 
But  if,  as  Sir  Walter  Armstrong  and  other  critics  now  believe,  'The  Blue 
Boy'  was  painted  as  early  as  1770 — eight  years  before  Reynolds's  discourse 
was  delivered- — it  can  no  longer  be  looked  upon  as  an  ansVver  to  Sir  Joshua's 
dictum. 

"' The  Blue  Boy,"'  writes  Conway,  "is  of  all  Gainsborough's  pictures 
that  in  which  genius,  labor,  and  developed  skill  meet  in  most  balanced  har- 
mony. It  is  a  fine  conception,  cleverly,  skilfully,  and  carefully  worked  out. 
The  face  is  full  of  life  and  sweet  attractiveness,  and  is,  at  the  same  time, 
thoroughly  modeled.  The  chord  of  color  is  rich  and  mellow.  Every  detail 
of  the  work,  from  end  to  end  of  the  canvas,  is  marshalled  like  the  units  in  a 
well-ordered  host,  and  directed  towards  the  end  in  view." 

Three  versions  of  this  picture  are  in  existence, — the  one  in  the  Duke  of 
Westminster's  collection,  another  belonging  to  Mr.  George  Hearn,  of  New 
York,  and  a  third  owned  by  the  Count  de  Castellane.  The  painting  belong- 
ing to  the  Duke  of  Westminster  is  held  by  the  most  competent  critics  to  be 
the  original  'Blue  Boy.'  Whether  the  other  versions  are  replicas  by  Gains- 
borough or  copies  of  the  original  remains  an  open  question. 

MRS.    JORDAN  EARL   OF   NORTHBROOk's   COLLECTION:  LONDON 

IN  this  charming  portrait  Gainsborough  has  depicted  Mrs.  Jordan,  the 
actress  who  in  her  day  took  London  by  storm  and  captivated  the  fancy 
of  His  Royal  Highness,  WiUiam,  Duke  of  Clarence,  afterwards  William  IV. 
"Not  many  a  daughter  of  Thespis  was  so  popular  as  the  beautiful  and 


37 


sprightly  Mrs.  Jordan,"  writes  Lionel  Cust.  "She  won  all  hearts.  In  her 
figure  Comedy  seemed  to  be  personified.  When  we  gaze  upon  the  entrancing 
portrait  which  Romney  painted  of  her  as  'Peggy'  in  *The  Country  Girl'  we 
can  picture  to  ourselves  an  actress  who  ran  upon  the  stage  as  a  playground, 
and  laughed  from  sincere  wildness  of  delight.  In  this  part  she  fascinated  Sir 
Joshua  Reynolds,  and  it  can  well  be  believed  that  it  was  with  equal  pleasure 
that  Gainsborough  made  her  immortal  in  his  lovely  portrait." 

THE   WATERING-PLACE  NATIONAL   GALLERY:  LONDON 

BETWEEN  1768  and  177  5,  the  last  years  of  his  stay  at  Bath,  Gains- 
borough painted  some  of  his  finest  landscapes.  "In  these  maturer  land- 
scapes," writes  Sidney  Colvin,  "he  composes  and  selects  freely,  according 
to  a  convention  full  of  power  and  poetry,  but  now  without  any  idea  of  the 
Dutchmen,  such  as  he  had  started  with,  and  equally  without  any  idea  of 
Italy  and  the  Romans,  such  as  had  governed  the  contemporary  convention 
of  Wilson.  Nor,  indeed,  is  the  reference  of  his  landscape  to  the  glowing 
champaigns  and  blue  and  golden  panoramas  of  Rubens,  commonly  as  it  is 
made,  one  that  is  very  pertinent.  Gainsborough's  ideal  is  one  of  woods, 
pools,  and  glades;  the  great  trees  of  a  wood  wield  and  fling  their  volumes 
of  rounded  and  sweeping  leafage  athwart  the  space  from  either  side,  parting 
in  the  midst,  and  down  the  opening  between  them  you  see  a  rich  country 
and  a  far-off  hill  beneath  a  sunset  which  will  be  caught  in  the  broken  ripples 
and  reflections  of  a  near  pool  where  cattle  drink,  while  peasants  rest  in  the 
foreground  shade.  This,  the  scheme  of  the  famous  'Watering-place,'  is  the 
scheme  also,  with  one  or  another  variation,  of  a  large  number  of  Gains- 
borough's more  important  landscapes." 

THE  HONORABLE  MRS.  GRAHAM      NATIONAL  GALLERY  OF  SCOTLAND:  EDINBURGH 

THE  Honorable  Mrs.  Graham  is  shown  leaning  against  the  pedestal  of  a 
column,  holding  a  feather  in  her  right  hand.  Her  overdress  is  of  yellow- 
ish gray,  and,  contrary  to  Gainsborough's  usual  custom,  the  central  note  of 
color  in  the  picture  is  the  warm  crimson  of  the  skirt. 

"Not  proud  nor  haughty,  like  a  Van  Dyck  duchess,  yet  what  a  refined, 
delicate  creature  she  is,  with  that  girlish  throat  and  those  small,  taper  hands 
and  feet,"  writes  Mr.  John  C.  Van  Dyke.  "Vivacious  and  spirited  in  pose, 
she  is  nevertheless  constrained  to  quietude,  dignified,  and  even  saddened  by 
that  Gainsborough  strain  of  melancholy.  The  deep  glen  at  the  left  and  the 
loneliness  of  the  background  add  to  the  romance  of  the  face,  until  one 
might  fancy  her,  for  all  her  jauntiness  of  air,  the  subject  of  some  tragedy. 
No  wonder  that  when  she  died,  in  the  fresh  bloom  of  her  youth,  her  husband 
could  not  bear  to  look  at  the  wistful,  tender  face,  and  walled  up  the  picture 
in  his  house,  where  it  was  forgotten,  and  hung  in  darkness  for  fifty  years, 
until  a  new  proprietor,  making  alterations,  brought  it  once  more  to  light." 


38 


QUEEN   CHARLOTTE  SOUTH    KENSINGTON    MUSEUM:  LONDON 

OF  the  many  commissions  which  Gainsborough  received  from  Bucking- 
ham Palace,  his  portraits  of  Queen  Charlotte,  consort  of  George  III., 
were  among  his  greatest  triumphs.  In  writing  of  the  one  now  in  the  South 
Kensington  Museum,  Sir  Walter  Armstrong  says,  "It  is  a  masterpiece  of 
color  and  of  that  great  quality  of  distinction,  which  is  perhaps  the  intellectual 
note  of  the  English  school  in  particular." 

ELIZA  LINLEY  AND  HER  BROTHER  LORD  SACKVILLE'S  COLLECTION:  KNOLE 

THIS  picture  of  the  beautiful  and  accomplished  Eliza  Linley  and  her 
brother,  Tom,  was  painted  in  1768,  five  years  before  her  marriage  to 
Sheridan  the  dramatist.  From  the  various  likenesses  which  Gainsborough 
made  of  this  lady  it  would  seem  that  he,  as  one  of  his  critics  has  expressed  it, 
"found  in  her  soft  loveliness  a  type  no  less  sympathetic  than  objectively 
perfect."  In  speaking  of  the  portrait  at  Knole,  Sir  Walter  Armstrong  says, 
"Here  Gainsborough  has  seen  and  immortalized  a  great  deal  more  than  a 
pretty  woman.  He  has  seen  a  child  with  a  beautiful  soul  into  whose  coun- 
tenance experience  of  a  peculiar  world  has  already  brought  a  touch  of  doubt 
and  pathos."  And  again:  "If  I  had  to  select  a  single  picture  to  represent 
Gainsborough,  I  think  I  should  choose  the  small  canvas  on  which  the  painter 
has  united  the  portraits  of  Eliza  Linley  and  her  no  less  handsome  brother." 

THE   PRINCIPAL   PAINTINGS    OF   GAINSBOROUGH,  WITH   THEIR  PRESENT 

LOCATIONS 

SIR  WALTER  ARMSTRONG'S  list  of  Gainsborough's  works  in  his  monograph 
Gainsborough  and  his  Place  in  English  Art"  includes  six  hundred  and  sixty-two 
portraits,  one  hundred  and  seventy-live  landscapes,  and  fifty  subject-pictures  and  copies. 
While  this  list  is  not  free  from  omissions,  nor  can  be,  in  the  nature  of  the  case,  free 
from  errors  in  regard  to  the  locations  given,  it  is  the  best  existing  catalogue  of  Gains- 
borough's works.  The  following  list  only  includes  such  pictures  as  are  in  public  gal- 
leries and  thus  accessible  to  the  pubHc,  with  the  addition  of  the  names  of  some  forty 
odd  of  the  most  celebrated  of  Gainsborough's  works  in  private  collections. 

PUBLIC  COLLECTIONS 

AUSTRIA.  Vienna,  Liechtenstein  Gallery:  Thomas  Linley  —  ENGLAND. 
-/a.  Cambridge,  Fitzwilliam  Museum:  Hon.  Fitzwilliamj  WilHam  Pitt  —  Dulwich 
Gallery:  Samuel  Linley;  Thomas  Linley;  The  Misses  Linley,  afterwards  Mrs.  Tickell 
and  Mrs.  Sheridan;  Philip  James  Loutherbourg;  Mrs.  Moody  and  her  Children  —  London, 
Buckingham  Palace:  George  III.;  Queen  Charlotte;  Duke  of  Cumberland;  Duchess  of 
Cumberland;  Prince  Octavius;  The  Eldest  Princesses  —  London,  College  of  Physi- 
cians: Richard  Warren,  m.d. — London,  Hampton  Court:  J.  C.  Fischer;  Colonel 
St.  Ledger;  Bishop  of  Worcester  {bis)\  Jewish  Rabbi — London,  National  Gallery: 
The  Market  Cart;  Woody  Landscape;  The  Watering-place  (Plate  vii);  The  Watering- 
place;  Mrs.  Siddons  (Plate  iii);  Orpin,  the  Parish  Clerk  (Plate  ii);  <Musidora';  Rustic 
Children;  The  Baillie  Family;  Rev.  Sir  Henry  Bate-Dudley;  Cornard  Wood  or 
*  Gainsborough' s  Forest';  View  of  Dedham;  Study  for  a  Portrait;  Miss  Gainsborough; 


/ 


39 


Two  Dogsj  Portrait  of  a  Young  Man;  Two  Landscapes;  Ralph  Schomberg,  M.D.;  The 
Misses  Gainsborough;  The  Watering-place  (sketch);  An  Old  Horse;  Rustics  with  Donkey 

—  London,  National  Portrait  Gallery:  Duke  of  Bedford;  Earl  Amherst;  George 
Colman;  Marquis  of  Cornwallis;  Thomas  Gainsborough  (?);  Admiral  Vernon;  John  Hen- 
derson; Stringer  Lawrence  —  London,  Royal  Academy:  Portrait  of  Gainsborough 
(Page  20);  Prince  Hoare  —  London,  South  Kensington  Museum:  Queen  Charlotte 
(Plate  ix);  The  Eldest  Princesses;  The  Misses  Gainsborough  —  London,  Wallace  Col- 
lection :  Mrs.  Robinson  ('Perdita')  (Plate  i);  Miss  Haverfield  — Oxford,  Christ  4 
Church  College:  David  Garrick  —  Stratford-on-Avon,  Town  Hall:  David  Garrick 

—  Windsor  Castle:  Queen  Charlotte;  George  HI.  (Z^zV);  Prince  Alfred;  Princess  Augusta 
Sophia;  Princess  Charlotte  Augusta  Matilda;  Duke  of  Clarence;  Duke  of  Cumberland; 
Duchess  of  Cumberland;  Ernest  Augustus,  Duke  of  Cumberland;  Duke  and  Duchess  of 
Cumberland  with  Lady  Elizabeth  Luttrell;  Prince  Edward,  Duke  of  Kent;  Princess  Eliz- 
abeth; Princess  Mary;  Prince  Octavius  (bis);  Princess  Sophia;  Princess  Royal  with  Prin- 
cesses Augusta  and  Elizabeth;  Duke  of  Sussex;  Duke  of  Cambridge;  George,  Prince  of 
Wales;  Mrs.  Robinson  ('Perdita');  Diana  and  Actason  —  FRANCE.  Paris,  Louvre : 
Landscape — IRELAND.  Dublin,  National  Gallery:  Landscape;  Duke  of  Northum- 
berland—  SCOTLAND.  Edinburgh,  National  Gallery  of  Scotland:  Hon.  Mrs. 
Graham  (Plate  viii);  Mrs.  Isabella  Kinloch  (loaned)  — UNITED  STATES.  Chicago, 
Art  Institute:  Landscape  with  Figures — New  York,  Metropolitan  Museum:  Land- 
scape; Mr.  Burroughs;  Child  with  a  Cat;  Landscape. 

private  collections 

ENGLAND.  Duke  of  Westminster's  Collection:  The  Cottage  Door;  The  Blue 
Boy  (Plate  v)  —  Earl  Spencer's  Collection:  Duchess  of  Devonshire;  Countess  of 
Spencer;  Hon.  Georgiana  Spencer  as  a  Child  —  Duke  of  Buccleugh's  Collection: 
Duchess  of  Montagu  —  Baron  Ferdinand  de  Rothschild's  Collection  :  Master  Nicolls 
('The  Pink  Boy');  Miss  Linley;  Mrs.  Robinson  ('Perdita');  Colonel  St.  Ledger;  Lady 
Sheffield;  The  Prince  of  Wales  —  Lord  Rothschild's  Collection:  The  Morning  Walk 
(Plate  iv);  Earl  of  Romney  and  his  Sisters;  Mrs.  Sheridan  —  Collection  of  Alfred 
DE  Rothschild,  Esg.:  Mrs.  Beaufoy;  Mrs.  Norton;  Mrs.  Villebois  —  Sir  Charles  Ten- 
ant's Collection:  Lady  Clarges;  Mrs.  Hippisley;  The  Ladies  Erne  and  Dillon  —  Lord 
Sackville's  Collection:  Eliza  Linley  and  her  Brother  (Plate  x)  —  Lord  Bateman's 
Collection:  Going  to  Market — Earl  of  Carnarvon's  Collection:  Wood-gatherers 

—  Collection  of  W.  E.  Alexander,  Esq.:  Mushroom-gatherer — Collection  of 
G.  L.  Bassett,  Esq.:  The  Cottage  Girl  —  Collection  of  Lionel  Philips,  Esq.:  Re- 
turn from  Harvest  (other  versions  are  owned  by  Lord  Tweedmouth  and  S.  G.  Holland, 
Esq.)  —  Collection  of  Rev.  E.  R.  Gardiner:  Margaret  Gainsborough;  Gainsborough 
and  his  Wife  —  Collection  of  T.  Humphrey  Ward,  Esq.:  Lavinia;  Gainsborough 
Dupont  —  Lord  Masham's  Collection:  Signora  Baccelli  —  Earl  of  Carlisle's  Col- 
lection: Girl  and  Pigs  —  Earl  of  Northbrook's  Collection:  Mrs.  Jordan  (Plate 
vi)  —  Lord  Veagh's  Collection:  Boys  and  Fighting  Dogs  —  Duke  of  Portland's 
Collection:  Mrs.  Grace  Dalrymple  Elliott  —  Sir  Algernon  Neeld's  Collection: 
The  Mall  in  St.  James's  Park  —  Earl  Fortescue's  ColLection:  Mrs.  Fitzherbert  — 
Collection  of  W.  H.  Cummings,  Esq.:  Karl  Friedrich  Abel  —  Collection  of  J.  S. 
MusKETT,  Esq.:  View  in  Epping  Forest  —  FRANCE.  Count  de  Castellane's  Col- 
lection: A  Page  ('The  Blue  Boy')  — UNITED  STATES.  Collection  of  George 
Hearn,  Esq.  :  Jonathan  Buttall  ('The  Blue  Boy ')  — Collection  of  J.  Pierpont  Mor- 
gan, Esq.:  Duchess  of  Devonshire  ('The  Lost  Duchess'). 


40  j^tajSterjtfin^ct 


#atnstiorousl)  3BiliUograpi)? 

A    LIST    OF    THE    PRINCIPAL    BOOKS    AND    MAGAZINE    ARTICLES  DEALING 
WITH  GAINSBOROUGH 

ALEXANDRE,  A.   Histoire  populaire  de  la  pelnture:  ecole  anglaise.    (Paris,  1894)  — 
Armstrong,  W.  Gainsborough  and  his  Place  in  English  Art.  (New  York,  1 898)  — 
Atkinson,  J.  B.   Gainsborough  [In  Dohme's  Kunst  und  Kiinstler,  etc.].  (Leipsic,  1880) 

—  Beech Y,  H.  W.  Literary  Works  of  Sir  Joshua  Reynolds  [Fourteenth  Discourse] 
(London,  1835)  —  Bell,  Mrs.  Arthur.  Thomas  Gainsborough.  (London,  1897)  — 
Brock-Arnold,  G.  M.  Gainsborough  and  Constable.  (London,  1881) — Carr,  J.  C. 
Papers  on  Art.  (London,  1 885) — Chesneau,  E.  La  Peinture  anglaise.  (Paris,  1882)  — 
Conway,  W.  M.   Artistic  Development  of  Reynolds  and  Gainsborough.  (London,  1886) 

—  Cunningham,  A.   Lives  of  Eminent  British  Painters.   (London,  1846) — Fairholt, 

F.  W.    Homes,  Works,  and  Shrines  of  English  Artists.    (London,  1873)  —  Fulcher, 

G.  W.  Life  of  Thomas  Gainsborough.  (London,  1856)  —  Lane,  R.  Studies  of  Figures 
by  Gainsborough.  (London,  1825) — Muther,  R.  History  of  Modern  Painting.  (New 
York,  1896)  —  Pratt,  R.  Sketch  of  the  Life  and  Paintings  of  Gainsborough.  (London, 
1788). —  Redgrave,  R.  A  Century  of  Painters.  (London,  1 866)  —  Ruskin,  J.  Modern 
Painters.  (London,  1843)  —  Thicknesse,  P.  A  Sketch  of  the  Life  and  Paintings  of 
Thomas  Gainsborough,  Esq.  (London,  1788)  —  Waagen,  G.  Treasures  of  Art  in  Great 
Britain.   (London,  1 854-57)  —  Wedmore,  F.   Studies  in  English  Art,   (London,  1876). 

MAGAZINE  ARTICLES 

ACADEMY,  1883:  A  Contemporary  Notice  of  Gainsborough  (W.  King).  1885: 
xjL  Gainsborough  at  the  Grosvenor  (C.  Monkhouse).  1900:  'The  Blue  Boy'  ('Audax'). 
1900:  <The  Blue  Boy'  ('Buscador')  —  Anglo-Saxon  Review,  1900:  Mrs.  Jordan 
(L.  Cust)  —  Artist,  1901:  The  Last  Picture  by  Gainsborough  —  Art  Journal,  1881: 
Gainsborough  and  Constable.  1889:  The  Royal  Academy  in  the  Last  Century  (J.  E. 
Hodgson  and  F.  A.  Eaton).  1897:  New  Gainsboroughs  at  the  National  Gallery 
(C.  Phillips)  —  Blackwood's  Magazine,  1867:  Portrait-painters  of  the  Past  Century  — 
Century  Magazine,  1897:  Old  English  Masters  (J.  C.  Van  Dyke)  —  Examiner,  1856: 
Fulcher' s  Life  of  Gainsborough  —  Gazette  des  Beaux-Arts,  1884:  Reynolds  et  Gains- 
borough aux  expositions  de  la  Royal  Academy  et  de  la  Grosvenor  (T.  Duret).  1901: 
La  Galerie  de  M.  Rodolphe  Kann  (E.  Michel)  —  Leisure  Hour,  1857:  Gainsborough 
and  his  Pictures.  1881:  Gainsborough.  1882:  Gainsborough's  Letters  to  William  Jackson 
— Literature,  1898:  Armstrong's  'Gainsborough'  (M. H.Spielmann)  —  London  Quar- 
terly Review,  1856:  Gainsborough.  1885:  Gainsborough  —  London  Society,  1885: 
Gainsborough  —  Magazine  of  Art,  1885:  Gainsborough  (H.  V.  Barnett).  1897: 
Gainsborough.  1898:  Bell's  'Life  of  Gainsborough.'  1901 :  Gems  of  the  Wallace  Collec- 
tion (M.  H.  Spielmann).  190.1 :  Portraits  of  the  Two  Duchesses  of  Devonshire  (W.  Rob- 
erts)—  Munsey's  Magazine,  1897:  Gainsborough  (M.  Madison)  —  Nation,  1885:  The 
Gainsborough  Exhibition  —  National  Review,  1885:  Gainsborough  (W.  Armstrong)  — 
New  Quarterly  Review,  1856:  Fulcher's  'Life  of  Gainsborough'  (L.L.)  —  Portfolio, 
1872:  From  Rigaud  to  Reynolds}  Thomas  Gainsborough  (S.  Colvin).  1894:  Gains- 
borough (W.  Armstrong)  —  Saturday  Review,  1898:  'Musidora'  (M.  Beerbohm). 
1899:  Armstrong's  'Gainsborough'  (D.  S.  M.)  — Temple  Bar,  1862:  English  Art  from 
a  French  Point  of  View  (T.  Gautier). 


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